Tim Let It Bleed

Faves of 2023: The Replacements – Tim Let It Bleed

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Since the release of the Ed Stasium mix of Tim, we have been celebrating that record. We have been showcasing several thoughts about this mix.

For us, it is one of the best remixes of a record we have had the pleasure to hear. It demonstrates what an incredible band The Replacements were and the talents and unique contributions of each member in that band. Hearing the Stasium mix is like hearing these songs for the first time. And instead of revealing flaws and limitations, the remix does just the opposite. More than mere flashes of brilliance, the amazing sound is revealed — a band at the height of its ability. Hearing these songs it is like brushing debris and dirt off of stone and finding something even more beautiful than you were expecting. To be entirely forthcoming, this record has long been a favorite. But the muddiness of the original version always left something to be desired. This mix fixes that problem. And for that reason and many more, it is a favorite of 2023.

The brilliance of Ed Stasium’s mix on The Replacements’ “Tim: Let it Bleed Edition” lies in an ability to capture the raw energy and emotional depth of the band while enhancing the overall sonic experience. Stasium, a seasoned producer and engineer with an impressive track record, brought his expertise to the table, elevating the album to new heights.

One of the key elements of Stasium’s brilliance is his understanding of the band’s dynamic and the essence of their sound. The Replacements were known for their unpolished, punk-influenced aesthetic, and Stasium managed to preserve that authenticity while adding a layer of clarity to the mix. He struck a delicate balance between maintaining the band’s signature rough edges and ensuring that every instrument and vocal had its own space in the songs.

The album’s opener, “Hold My Life,” perfectly exemplifies Stasium’s prowess. The guitars roar with a gritty intensity, complemented by Paul Westerberg’s impassioned vocals. Stasium’s mix allows each instrument to shine individually, yet they come together seamlessly to create a powerful and cohesive sonic picture. The punchy drumming of Chris Mars cuts through with precision, anchoring the track’s driving rhythm.

Stasium’s attention to detail is evident throughout the album, especially on tracks like “Bastards of Young” and “Left of the Dial.” The former showcases Stasium’s ability to capture the nuances of Bob Stinson’s guitar work, from the jangly chords to the blistering solos. Meanwhile, “Left of the Dial” benefits from a mix that highlights the emotional resonance of Westerberg’s lyrics, making it a standout moment on the record.

Beyond the individual performances, Stasium also mastered the art of creating a three-dimensional sonic space, something that the previous version of the record significantly lacked. The Replacements’ music thrives on its live and unfiltered feel, and Stasium’s mix amplifies this by immersing the listener in a rich auditory experience. The layers of sound on tracks like “Swingin Party” or “Here Comes a Regular” create a sense of depth, inviting the audience to fully immerse themselves in the music.

In essence, Ed Stasium’s mix on “Tim: Let it Bleed Edition” showcases brilliance in understanding and enhancing the unique qualities of The Replacements. He managed to capture the essence of the band’s raw energy, preserving their authenticity while elevating the overall sonic quality of the album. Stasium’s contribution to this edition of “Tim” solidifies a reputation as a masterful engineer and producer, leaving an indelible mark on one of The Replacements’ most iconic albums by simply allowing the band to be itself.

Revisiting Tim: A Personal Journey Through The Repalcements’ Iconic Album

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As we celebrate the Ed Stasium remix of The Replacements album ‘Tim‘, we thought gathering other music lovers’ thoughts would be a great way to stop and consider the impact of this record. The fourth ‘Revisit’ comes from our friend, musician, and music writer, Matt Derda of Matt Derda & The High Watts! Matt is a Chicago area-based musician who has released some incredible music. Thank you, Matt!

Recently, I saw a video where someone had a Fender Telecaster guitar and the paint started to wear off. Underneath the black layer of paint was an incredible paisley design. The guitar was perfect already and it played great, but with this discovery, it’s now an amazingly beautiful guitar. I think you get the metaphor here.

I was a huge fan of the Dead Man’s Pop reissue and it felt like a totally new Replacements’ record. I really didn’t have that much of an issue with the original Don’t Tell A Soul like everyone else did, but it was a welcome update. But I actually couldn’t fathom how they could make Tim better. Bastards of Young is already in my top 5 best songs of all time. However, Tim (Let It Bleed Edition) should probably become an adjective to describe something that is old, but yet new at the same time. I don’t know that there is a better example to ever exist.

Every single track is familiar, yet slightly different. I think what stands out the most is how much you can hear the clarity of all of the guitar parts. If you already thought Bob Stinson was a genius guitar player before, well now he’s a guitar god. And really the whole band just played incredibly well off each other. I prefer to listen to live recordings, either bootlegs or official releases. The Tim (Let It Bleed Edition) sounds like a live recording. It’s as if you’re sitting in the room with The Mats as they play all of these tracks together. 

And everything seems to have a little extra swing to it. I don’t think I realized how danceable this record was before. Kiss Me On The Bus was already pretty peppy, but something about being able to hear Bob’s guitar and Tommy’s bass a little better makes me want to get up and dance. Dose of Thunder sounds a little less KISS and more like the Dead Boys. Waitress in the Sky could easily be a hit on Outlaw Country on SiriusXM radio. Bastards of the Young doesn’t sound all that much different, but it didn’t need to. It’s perfect.

A proud parenting moment for me was when my six-year-old asked me what song I was listening to one night while doing the dishes. It was the new Ed Stasium mix of Waitress in the Sky. She said, “I like this song.” I’ve never been prouder.

The stand-out song for me though is Swingin Party. I never really cared for this song. Of course, the lyrics are masterful, per all Westerberg tunes, but I just thought the song was kind of boring. Everyone always loves that song so I was kind of embarrassed that I didn’t care for it. However, on this reissue, it seems like a totally different song. It went from one of my least favorites to one of my favorites. I think it is because you can clearly hear Tommy’s bass lines. The song actually swings now.

Finally, I have always been a huge fan of the song Nowhere is My Home. It’s probably one of my top 10 favorite Mats songs, and it was originally cut from the album! This edition gives us two…TWO versions of Nowhere is My Home. 

All in all…10/10. Would recommend.

Video of the Day: Behind the Sound: Replacements’ ‘Tim’ gets remastered

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When a classic album from the annals of rock history gets the remix treatment, fans often approach it with a mixture of excitement and trepidation. In the case of The Replacements’ seminal record ‘Tim,’ which recently received a remix that was discussed in a video ‘Behind the Sound: Replacements’ ‘Tim’ gets remastered,’ this cautious optimism was well-founded. The result is a meticulous and loving restoration of an album that not only preserves its raw emotional power but also enhances its sonic experience for a new generation.

Originally released in 1985, ‘Tim’ was an album that catapulted The Replacements into the alternative rock pantheon. Known for their punk-influenced sound, the band’s music always possessed a gritty, midwestern unpolished charm, and ‘Tim’ was no exception. But with this remixed edition, listeners are treated to an experience that remains faithful to the band’s raw essence while elevating it to new heights.

One of the most remarkable aspects of ‘Tim’ has always been its emotional depth. It’s an album that’s often regarded as a cornerstone of American alternative rock, thanks to its introspective and sometimes turbulent lyrics. With the remix, this emotional core is brought into sharper focus. The subtle nuances in Paul Westerberg’s raspy vocals and the poignant lyrical themes are now more pronounced, allowing listeners to delve deeper into the album’s soul.

The instrumental components of ‘Tim’ have been given a thorough makeover as well. The album’s instrumental arrangements, once somewhat obscured by the lo-fi production values of the 1980s, now shine through with greater clarity. Chris Mars’ drumming, Tommy Stinson’s basslines, and Bob Stinson’s searing guitar work are all more defined. Each instrument is allowed to breathe, and their combined efforts are all the more powerful for it.

The soundstage of this remix deserves special praise. The separation of instruments, the placement of Westerberg’s vocals, and the overall balance of the mix are executed with remarkable finesse. In songs like ‘Bastards of Young’ and ‘Swingin Party,’ the emotional punch is delivered with newfound precision. The album’s quieter moments, such as ‘Here Comes a Regular,’ showcase a depth and subtlety that were somewhat muted in the original release.

The remix process, handled by Ed Stasium who clearly understands the album’s significance, respects the integrity of ‘Tim.’ It doesn’t attempt to transform the music into something it’s not. Instead, it removes the layers of sonic muddiness and distortion that had accumulated over the years, allowing the album’s authenticity to shine through. The result is an album that feels fresh and relevant, even decades after its initial release.

Despite the overall sonic improvements, there’s a warmth to the remixed ‘Tim’ that retains the album’s original character. The imperfections and rough edges that make The Replacements so beloved remain intact, a reminder of the band’s DIY ethos and punk roots.

For fans of The Replacements who have cherished ‘Tim’ for years, the Tim: Let It Bleed edition is a gift that allows them to experience the album in a new light. For those who are new to the band, it’s a fantastic entry point that showcases the band’s musical brilliance.

In conclusion, ‘Behind the Sound: Replacements’ ‘Tim’ gets remastered’ is an exceptional example of how a remaster can enhance a classic album without sacrificing its essence. The emotional depth of ‘Tim’ remains untouched, while the sonic quality is remarkably improved. This remix not only does justice to an important album in alternative rock history but also demonstrates the enduring power of The Replacements’ music. Whether you’re a long-time fan or just discovering the band, this remastered ‘Tim’ is a must-listen that captures the essence of an era while sounding fresh and captivating in the present.

Revisiting Tim: A Personal Journey Through The Replacements’ Iconic Album

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As we celebrate the Ed Stasium remix of The Replacements album ‘Tim‘, we thought gathering other music lovers’ thoughts would be a great way to stop and consider the impact of this record. The third ‘Revisit’ comes from our friend, musician, and music writer, Jeremy Porter, Detroit, Michigan-based musician (Jeremy Porter and The Tucos), Author (Rock and Roll Restrooms: A Photographic Memoir), and Co-Editor in Chief (Pencil Storm).

The Replacements were a pivotal band in my life on so many levels. I was an awkward 15-year-old stoner metalhead (Still a metalhead, not so much a stoner) living in a new city. I was terrible around girls, but I had some new friends and they were into (gasp!) PUNK. It was all punk…REM was punk to me. I was trying, I really was. I needed friends, and these guys seemed ok, but this music! Where were the epic guitar solos, high-pitched screams, pointy guitars, and chained-up bikini-girls in the videos? 

One day my friends were in the living room with their girlfriends doing whatever teenage boys do with their girlfriends when mom and dad weren’t home, and I was (typically) alone in my buddy’s room, sitting on the bed, with some PUNK album playing, thinking about leaving. 

“WE’RE COMING OUT! WE’RE COMING OUT!! WE’RE COMING OUT!!” 

What the hell is this racket? What am I doing here? Wait a minute, this sounds familiar… 

“Out on the streets for a livin’, you know it’s only begun…” 

HOLY SHIT they’re doing a KISS song! What is this? WHO is this? That was the very moment I rounded the corner. Across that bridge between KISS and The Replacements was my door to a new life. I sat there staring at the cover of Let it Be and it may as well have been my new friends and me sitting on that roof, shaking off an afternoon hangover before band practice and more partying.

A few months later The Replacements released Tim and we got it the day it came out. I was in a band called The Regulars long before “Here Comes a Regular” hit the streets. Our singer’s name was Tim, and he was quite literally, as the song goes, “A drinkin’ buddy that’s bound to another town” as his family was moving away, despite his desperate objections and pleas. We’d sit around out of our skulls and analyze these coincidences like they were prophecy. 

It didn’t hurt that the music was fucking incredible either. Paul Westerberg was me and I was him; the skinny, flannel-clad, gangly, zitty burnout who waits all day for the bus ride home just to see the girl I’m obsessing over, wanting so bad that kiss, but ultimately keeping my fantasy to myself, somewhat spoiled by the sausage-stuffed, Skoal-chewing, football player boyfriend sharing her bench. It’s an old story that’s been told a million times: Guy wants a girl and can’t have her. “I Wanna Hold Your Hand,” basically. “I Want You to Want Me.” “Layla.” “Every Little Thing She Does is Magic.” Half of rock and roll is about unrequited love. But Westerberg’s genius was making “Kiss Me on the Bus” about the bus, the transfer, the stop, the gazing classmates, the juvenile heartache, all setting the cliche on its head, and then, more importantly, putting me on that bus, two benches back. “Okay, don’t say hi then” is a genius adolescent play-it-cool-but-I’m-really-not line, Paul somehow tapping the mind of every pubescent loser kid who ever muttered it. “They’re all waaaatching uuuuuuuusssssss!” OK, no one was watching me, but that movie played in my head every day for an entire school year. 

Swingin’ Party hit a similar chord. Back to that awkward kid, this time not on a bus but at a party, terrified to talk to anyone, but wanting nothing more than to do just that. “If bein’ afraid is a crime we’ll hang side by side…at the swingin’ party down the line.” It’s poetry, and it’s the raw truth, up against the fraud and facade of the flag-carrying, lampshade-wearing protagonist earlier in the song who makes it like everything’s cool on the outside, all the while dying on the inside. Two party-goers, a boy and a girl, hanging by their necks from a leafless tree, their silhouettes gently swaying against a burning red, orange, and black sunset, perfectly content to sacrifice it all rather than risk the possibility of rejection at their mutual friend’s kegger party. That’s what I see, and what I lived more than a few times at parties in the basements of my friends’ houses and in the woods adjacent to the beaches in our town. And that match strike and cigarette inhale at the end? Yeah, we heard that in 1985 and thought it was the coolest thing ever. A message from Paul. He was one of the best when it came to that kind of thing, the everyman’s songwriter, and Tim is his high water mark.

Over the years I put The Replacements on less and less. I don’t like the band any less – well, I sort of do after reading Trouble Boys, the great book by Bob Mehr that exposed them as damaged, selfish, and often horrible people – but I don’t like the music any less. I’ve heard those records a million times, I can play them in my sleep. When a random song comes on shuffle I perk up a little, and the flood of live albums and reissue box sets has been a great way for an old fan like me to revisit and reinvigorate their catalog. 

The recent Tim: The Let it Bleed Edition box was just that – a chance to revisit this pivotal album and hear it with fresh ears. It takes me back to that bedroom in 1985, those parties, and that goddamn bus. But Stasium has elevated the experience beyond a nostalgic look back. He’s stripped the neon paint job down to the bare, exposed metal and stucco and allowed us to not only relive the music – but to rediscover it, to hear things we’ve never heard, and to feel things we’ve never felt. Front and center in the new mix is the visceral rawness and emotion in Paul’s voice. He gets the credit for the songs and for being the ringmaster of the shitshow, but rarely the accolades he deserves as an incredible rock vocalist. When I focus on the vocal performances that for the first time are clear and audible, I just get shivers. A discovery that profound on an album that’s 38 years old is quite extraordinary. 

But that’s what art does – it affects you when you consume it. So you go back and consume it again if you can, or if you want to, and eventually, if you spend enough time with it, it becomes a part of you. And that’s what Tim did for me in 1985, and what it’s doing again in its new form today. It’s a gift, this remix, and one not to be taken for granted. We get a limited time on this toxic and flawed but beautiful and unpredictable marble, and it feels like we’ve gotten away with a second hand in the cookie jar with this one. Few things in life and art have this impact, and significantly fewer are given a second breath, a second chance at ripping your heart out, an opportunity for redemption. Here’s to rock and roll, and finally finding the courage somewhere to tell that girl on the bus that her boyfriend is a douche and she really needs to hang out with you. Xx   

Revisiting Tim: A Personal Journey Through The Replacements’ Iconic Album

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As we celebrate the Ed Stasium remix of The Replacements album ‘Tim‘, we thought gathering other music lovers’ thoughts would be a great way to stop and consider the impact of this record. The second ‘Revisit’ comes from our friend and music writer, Kevin Alexander. Make sure you subscribe to his Substack!

There used to be a wall in downtown Portland Oregon, where someone had painted “Paul Westerberg is God.” Anytime my friends and I were down there, we’d see it, laugh, and make the sort of inside jokes funny only to us. 

It would be ~25 years between seeing that sign and finally seeing the Replacements. My wife & I drove 75 miles to hear 26 songs, and it was worth every last minute. My ears bled like I thought they might. It was everything we expected. And more.

It would take 38 years for The Replacements’ Tim album to get the remix it deserves. The result is far more than merely “punching up the drums” or tweaking a note here or there. Ed Stasium has overhauled the record, resulting in a much more dynamic, heavier sound.

The original was produced by Tommy Erdelyi (better known as Tommy Ramone) and sounds tinny, nasally even. Despite being packed with songs we hold so close, there is a distance to it. It’s flat, but to my ear, that’s how most ‘Mats records before Don’t Tell A Soul sounded. 

It was all part of the bargain and matched their (then) chaotic style, which never much lent itself to fidelity. The record production on Tim left a lot on the table, but The Replacements was always a band that rolled their eyes at terms like “potential,” so maybe that was part of the bargain too. 

Tim represents an inflection point for the band where Westerberg’s lyrics start pivoting toward a more poignant place. Think less “Gary’s Got A Boner” and more “Little Mascara.“ 

With Stasium’s help, the sound is finally leveled up to match the words. 

The usual box set ingredients (B-sides, live tracks, etc.) are here, but the original album tracks themselves are the real treasure. Listening to a fresh take on something so familiar can be fraught, but Stasium has gone to great lengths to amplify & enhance only the best parts and finally bring the music closer. 

To my ear, the biggest changes are to the rhythm section. Tommy Stinson’s bass had always been relegated to the back, almost an afterthought as Westerberg and  Bob Stinson battled it out on guitar. Here, his playing is much closer to the front, and the lines are much cleaner and clearer. 

Chris Mars also benefits from revisiting the record. With Stasium’s touch, the drumming is revealed as much more intricate. Even listening with less-than-stellar headphones, you hear new fills here or a cymbal crash there. A record like Tim is one you grow to love by heart, down to every last note. Hearing a series of new parts in the equation is unexpected but in the best way. 

Bob Stinson sees some posthumous redemption here, too. At this point in the original recording, he was already headed toward drug-fueled oblivion and had a much-reduced role on the record- almost as a vestigial nod to their louder, more raucous days than anything else. Part of that is down to his wrestling with his demons, but part of that might’ve been down to being on the outside looking in. 

With Westerberg taking an increasing turn toward being a singer-songwriter, where’d he fit in? 

Indeed, one of the two “Bob” tracks is “Dose Of Thunder,” a lovely homage to scoring speed. I used to regard it and “Lay It Down Clown” as two of the weaker tracks on the record. Neither will make any “favorite ‘Mats song of mine” lists, but both are improved significantly here, sounding more electrifying. More importantly, both highlight Stinson’s guitar work as someone who, despite going completely off the rails, could still nail it when the mood struck. 

No track perhaps encapsulates all of this better than the “new” version of “Little Mascara.” Westerberg has a knack for squeezing an entire story into one verse; this is no exception. The original is good, but this is sublime. Parts have been moved around and overhauled. The intro is now the chorus, each verse a step up to the next, and the whole track is now somehow even more anthemic–and that’s before we get to the outro, which is much longer and features a ripping solo by Stinson. 

It just might be my new favorite. 

If you dig far enough on YouTube, there is cellphone footage from the show my wife and I were at. Like the early ‘Mats records, it’s raw and shaky. It’s short on production but long on enthusiasm. 

As Westerberg tears into the opening riff of “Bastards of Young,” someone just out of frame says, “f**k yeah!” it’s more rapturous than anything– as if the person has been waiting their whole life to hear those chords in person. It’s a dream fulfilled. 

In a lot of ways, the newly mixed “Tim” is the same way.

Revisiting Tim: A Personal Journey Through The Replacements’ Iconic Album

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As we celebrate the Ed Stasium remix of The Replacements album ‘Tim‘, we thought gathering other music lovers’ thoughts would be a great way to stop and consider the impact of this record. Our first ‘Revisit’ comes from our friend, Jim Doherty known as DJ Calc on WRKC Radio Kings College in Wilkes-Barre, Pennsylvania.

One of the joys of parenting my children as they move through their teen years has been re-engaging with music I have loved and falling in love with records all over again. This has happened a number of times when I manage to convert my kids into being fans of music that matters to me. Sometimes, however, falling in love all over again does not involve my kids. Sometimes it is just me and an album I thought I knew.

One band that I have not converted my kids, or my wife, to is The Replacements. In some ways, I see this as a failure of parenting. In some ways, though, this means that I get to lose myself in Paul Westerberg’s world without sharing that with anyone else in my house. Twice now in the past three years, I have fallen head over heels in love with a Replacements album that has already been part of my life for decades. A couple of years ago it was the Matt Wallace remix of Don’t Tell a Soul. This week, it is the Ed Stasium remix of Tim.

I started working at a record store in my college town in 1984 and one of the slew of miraculous albums that came out then was Let it Be. That album began a lifelong love affair with The Replacements. When Tim, their major label debut, came out in 1985 I was predisposed to love it and love it I have for decades now. But that love was always tempered a bit by the sort of soggy sound of the record. Tommy Stinson and Chris Mars, a dynamite rhythm section that roared on the earlier records by the band seemed neutered on this album. The guitars did not ring with the same power I was used to from the ‘Mats. It was easy to blame this on the record being their major label debut and the finger generally got pointed at the corporate label that wanted to tame the band. As with most stories, this was way too simple a reading of the situation.

Listening to this new remix almost feels like I am listening to some lost chapter of the band. The rhythm section kicks, and there is space for the guitars to ring, especially Bob Stinson who is still somewhat of a ghost on this album. The outro to ‘Little Mascara’ is a revelation. Westerberg’s voice – especially on ‘Little Mascara’ and ‘Here Comes a Regular’ – is just heartbreaking in its emotional depth. For a person whose public character was that of a person who could not be bothered to care (a favorite lyric of his is “One foot in the door, the other foot in the gutter. The sweet smell that you adore, yeah I think I’d rather smother”) it is sure clear in his singing here that he is deeply invested in these songs and in the characters being portrayed.

You can hear Jim’s radio programs on Mixcloud

The Replacements’ “Tim Let it Bleed Edition” – A Raw and Unfiltered Gem

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The Replacements’ 1985 masterpiece, “Tim,” has long been celebrated as a cornerstone of alternative rock history. With its timeless blend of punk energy and heart-wrenching ballads, the original album left an indelible mark on the music landscape. However, the production of ‘Tim’ has since its release been a subject of debate. While the original mix captured the power of the band, there was simply a lot of detail that was lost in an odd choice of mono-focused production and lo-fi-like aesthetic.

Now, in 2023, we’re treated to “Tim Let it Bleed Edition,” a reissue that not only pays homage to the original but adds a raw, unfiltered layer that deepens the emotional resonance of the record. Although nothing new was added to the remixed tracks by Ed Stasium, what is different is that we all can now clearly hear what the band was doing.

This “Let it Bleed Edition” is more than just a reissue; it’s a journey back in time. The original tracks, from the borderline reckless “Bastards of Young” to the devasting and powerful “Little Mascara” to the poignant “Swingin Party,” are as impactful as ever, maybe even more so because from the vocals to the guitars, bass, and drums listeners can find the detail that was simply buried. Westerberg’s voice is even more fragile and vulnerable yet cheeky and tough in an “I don’t need your validation and approval” way. The Replacements’ signature blend of rebellion and vulnerability shines through, capturing the essence of youthful angst and uncertainty.

Bob Stinson’s guitar parts shine in this remixed record with a power, finesse, and movement that was lost in the mono aesthetic of the original. There are parts and aspects to his playing that were simply lost. The phasing and shifting of Stinson’s movement was far more than assumed whether he was playing a silly rocker (“Lay It Down Clown,” “Dose of Thunder”) or a serious reflection on life’s challenges (“Little Mascara,” “Bastards of Young”). Bob Stinson was a great guitar player who was far more sophisticated and expressive than the original mix concealed.

“Little Mascara” in particular becomes more powerful lyrically and sonically with this remix. The song’s impact becomes inescapable. The sense of anomie, frustration, and entrapment of the narrative escalates to feel almost suffocating. This version is mind-blowing in part because it brims with a collusion between chaos and sentiment. A spectacular song that is fully realized in this new version of the album.

Also long overdue is the reflection and realization of what an incredible bass player, Tommy Stinson was at the tender age of 18 when the album was recorded. Stinson’s bass parts demonstrate a strength, speed, dexterity, and maturity on his instrument that is shocking. To say he is a damn fine bass player feels like an understatement. The Stasium remix reveals some of the finest bass runs and progressions in contemporary rock and roll. These are now clear and convincing in this version of the record.

“Here Comes a Regular” changed greatly in the new mix. That song morphed from a wistful song to a deeply melancholic almost melodramatic tune. The clarity of the vocals now does not allow a listener to hide from the sadness. That heavy emotional pain is far too real now, inescapable. It feels punishing and unbearable in a way that the original mix did not.

What truly sets this edition apart is the inclusion of previously unreleased live recordings and studio outtakes. The live tracks transport you to the sweaty, beer-soaked clubs of the ’80s, where The Replacements were at their most electrifying. Songs like “Hold My Life” and “Kiss Me on the Bus” gain a new vitality when performed in front of an eager crowd.

Drums can make or break the sound of a record. And Chris Mars was done a serious disservice with the original mixing. In the new mix, Mars has a feel, sway, and rhythm that was made mushy and soft but is now revealed to be anything but that. Wow, Mars’ drumming had some swing that was buried in the approach of the first record.

The studio outtakes, on the other hand, reveal the band’s creative process in all its messy glory. The rawness and imperfections in these unreleased gems provide a fascinating insight into The Replacements’ genius. “Waitress in the Sky (Alt Version)” showcases Paul Westerberg’s unmistakable wit, while “Here Comes a Regular (Demo)” strips the song down to its bare emotional bones, offering a more intimate connection with the band’s songwriting process.

‘Tim Let it Bleed Edition’ may not be a radical reinterpretation of the original, but it doesn’t need to be. The uncovering and clarity that is provided on the remix is like receiving the record for the first time. Nothing has been added because it was all already there just waiting to be discovered. Instead of reframing, this remix is a heartfelt tribute to a classic album, a love letter to a band that forever altered the course of alternative rock and indie. This reissue is a must-listen for die-hard fans and a perfect entry point for those who have yet to discover The Replacements’ timeless sound.

One is left to wonder if The Replacements would have achieved far more had Sire Records released this version of the record? While, this author, loves “Let It Be” and I still believe “Pleased to Meet Me” is damn near perfect — this version demonstrates the band was so much more than what was assumed. So much of what they could do was buried, hidden from the listener. Would The Replacements have then met Sire Records’ expectations in terms of sales? Certainly, the band created a powerful impression even with the mono aesthetic of the original production.

In the end, ‘Tim Let it Bleed Edition’ serves as a testament to the enduring power of The Replacements’ music. It’s a reminder that even decades later, their songs still resonate with the same raw energy and emotional honesty that made them legends in the first place. This edition may have “Let it Bleed” in the title, but it’s the heart and soul of The Replacements that truly bleed through every note.